I went to church last night, and baby, I’m a new man.

No, but really. I saw Pikelet, Lucky Dragons and Mount Eerie in a church. In Australia. Did I mention they played in a church? Like, the holy kind? Well, I’m not much of a church goer myself, but this was damn near the closest I’ve come, and might ever come, to experiencing god. (Blasphemy?)

Pikelet opened, accompanied by a friend playing bass, clarinet, and anything else Evelyn (Pikelet’s secret identity!) could not manage with her hands and feet. (And I say hands and feet because, while playing whatever instrument she has on her lap, she is often twisting knobs and manipulating her delay pedals with her feet). There was something vaguely transcendent about her last performance (as previously mentioned), a sound hovering at the periphery hinting toward the divine. At a church, with her voice echoing from the vaulted ceilings, bathed more in an arrangement of shadows than any one light, Pikelet proved angelic, ascending over legions of synthesized harpsichords, floating above a tumultuous sea of her own creation. Check my previous post on her here.

Lucky Dragons (of LA) set up in the middle of the crowd with an odd assortment of objects, proving that most anything can be an instrument. Their show is magic, and relied on complete audience immersion. To describe what happen would take pages. And an understanding of mystical arts that, from what I can tell, transcend human thought. Their instruments used people as conductors, the magnetic attraction of human touch to create sound. They built more of an aesthetic than a specific sound, letting the random bleeps from the audience fill the canvas offered by their back beats. Sound trippy? It was. As it ended, as we put down the various cables and rocks that were handed us, we began to look around, bewildered. (And I use “we” freely, because, at this point, there may have been a collective consciousness). No clapping. No noise. Was it over? Had it passed? Was I still the same person? The only answer was their closing “song,” a freaked out electric groove to which we danced and flailed and screamed. It ended. We sat down. “Thank you,” they said. “We’re MGMT.” Laughs. For some pictures, check here for a website run by a very nice Aussie named Ro, who was also at the show.

Bashful and visibly humbled by the rapt attention of a church-full of cross-legged attendees, Phil Elverum took his seat under lighting that seeped from the walls, borrowing Pikelet’s guitar and addressing the audience in a timid voice bordering a whisper: “Hi, my name is Phil. Mount Eerie is my music-band project…ok, I’ll play a song.” Later, as he rambles through his stream of consciousness banter, we find that he is jet-lagged and nearly delirious with fatigue. The perfect time to catch an artist, no inhibitions.

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When Armchair Apocrypha came out, I had a hard time listening to anything else. In fact, I felt a similar way when I first heard Andrew Bird and the Mysterious Production of Eggs. There’s something very infectious about his music; there are pop sensibilities without compromising any lyrical depth. The wait for this new album Noble Beast will be a long one (it’s released 1/27/09), and after hearing this track, you’ll only want to hear more.

MP3: Andrew Bird – Oh No

Bonus MP3s

MP3: Andrew Bird – Fake Palindromes (Andrew Bird and the Mysterious Production of Eggs)

MP3: Andrew Bird – Heretics (Armchair Apocrypha)

Hey everyone. It’s been crazy as always. Good to see you again.

photo credit: Bowen Rodkey

A few weeks ago, I got a chance to listen to the On the Tail of the White Donkey EP, the debut release from folk-singer Vikesh Kapoor. His music always brings me to the same conclusion. We must return to this tradition. There is so much to be had here–so much that real folk music can do for the industry and all the places it reaches.

I can just imagine Kapoor (recently off a successful tour with staff favorite Nicholas Beaven) moving along, each song gracefully falling from his back pocket. Travelling through the heart of an unnamed area, almost ignoring the complications of musicianship and poetics, he sings his stories. I remember my first experience with his music, sitting cross-legged on the floor of a discreet second-story Allston apartment. There were no chairs, no posters, no amplifiers and absolutely no bullshit.

An Indian-American traditonal folk singer is something to turn your head to at first. His influences are part of a strong force of writers and players that do not share common ground in style, but share a similar need to create this long-forgotten escape that doesn’t have any room for the pitfalls of popular music today. I’ll spare all of you comparisons to others in his genre and simply say this: Everything in his music that at first sounds tired quickly becomes an understanding–that in order to create a piece of intellectual, poetic tradition one must come to terms with both who they are and what they have learned along the long, hard path. Kapoor’s feet are on their way to becoming tough and leathery and we’re lucky enough to catch him so soon.

Over the course of the EP, this truly became clear. Deciding which of these songs was going to be your Song of the Day was tough. Just as important as the individual tales, the whole EP is a coherent, imaginative collection of songs that describe a shared need for honest human connection. If that isn’t the point of this EP, then I would have to say Vikesh Kapoor as succeeded in creating something that, while sometimes inconsistent and unsteady in its footing, is in a way universally relatable–the way it should be.

Some major moments for me occur on the unnervingly beautiful “One Woman Man.” It’s those moments of folk glory where the song sounds as if it is from 1950 until he includes a line with a turn-of-phrase or euphemism that jarrs the listener back into the present. All of a sudden we have something that exists outside of the system. Later on, Kapoor hits what I consider to be a masterpiece, “Willy Robbins.” A traditional folk tale (no chorus, just the adamant painting of a harrowing picture). He sings lines like “then like many working men, he’d shower, watch TV.” and their gravity is unreal. It is truly brilliant.

However, neither of these songs I chose to share with you today. I think you should grab the EP and spend a moment to hear what an honest artist sounds like. The songs discussed above are even better in context. One song, however, you should definitely hear. “Till the Fields” is a happy, catchy tune with many simple parts working together. Truly, Vikesh Kapoor’s poetry is the most obvious talent, but as a guitarist he supports himself in admirable fashion.

MP3: Vikesh Kapoor – “Till the Fields”

MP3: Vikesh Kapoor – “Down by the River”

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Support Vikesh Kapoor: Buy On The Tail Of The White Donkey EP

Vikesh Kapoor is performing at TT the Bears in Caimbridge on Thursday, September 25th. It’s his only show for a little while so GO THERE.

Pick up an album and meet the guy. It’s all possible with real music.

I leave you with an intimate performace by Kapoor at Firehouse 13 in Rhode Island

http://www.youtube.com/watch?v=XPJwZBjs3d0

The past few weeks I’ve been listening to co-founding member of Rilo Kiley, Pierre de Reeder’s, solo album, The Way That It Was. It’s got some really solid songs on it, and if you are looking for new easy listening summer/fall music, it’s definitely worth your time to check out.

“Not How I Believe,” is by far my favorite song on the album. I’ve got a soft spot for choirs in songs like this, and it’s the exact same reason I love the Rilo Kiley song “With Arms Outstretched” so much. “Not How I Believe” also has a flute–it’s awesome!

It’s clear that The Way That It Was is a very personal album for de Reeder, and it ranges from songs about growing up, to a song for his daughter, “Sophia’s song,” which brought to mind Ben Folds’ song “Gracie.”

I’m a really big fan of solo albums like this, not only because of the music, but what it represents. Pierre de Reeder is very talented, and does a great job performing his role in Rilo Kiley. However, it’s impossible for a collaboration to be as personal as a solo album. Pierre decided to release an album because he has something to say that’s meaningful to him, and though the lyrics can be a bit soft at times and some of the songs fall a little flat, there is no questioning that it is extremely honest.

Pierre de Reeder lives in Los Angeles and is the bassist for Rilo Kiley. He’s been working on and off on The Way That It Was for the past five years, and plays most of the instruments, although Jenny Lewis, Blake Sennett and Jason Boese did offer a hand.

The Way That It Was (2008):

Pierre de Reeder – Not How I Believe

Pierre de Reeder- I’ll Be Around

Bonus:

Rilo Kiley – With Arms Outstretched

Read de Reeder’s essay on why Obama should be President.

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Over the past few weeks I’ve been listening to Death Vessel’s newly released sophomore album, Nothing Is Precious Enough For Us. It’s been growing a lot on me, and I see myself listening to this when in need of a chill folk album. If you like Iron and Wine, Anthony and the Johnsons, or the Fruit Bats, you might like Death Vessel.

Several of my favorite tracks on the album include the opening track “Block My Eye,” “Bruno’s Torso,” “Circa,” and “Obadiah in Oblivion.” Believe it or not, those vocals you hear are those of a guy, specifically Joel Thibodeau. I’m confident that I’m not the only one who originally thought the high falsetto had to be a female singer.

Death Vessel is based in Providence, Rhode Island. In 2006, they signed to Sub Pop, after releasing their debut album in 2005, Stay Close. While Thibodeau is pretty much the brains behind Death Vessel, he has plenty of support. Starting in last August, Death Vessel will be going on a lengthy US tour, check the dates below.

Nothing Is Precious Enough For Us (2008):

Death Vessel – Block My Eye

Death Vessel – Circa

Stay Close (2005):

Death Vessel – Deep In The Horchata

Death Vessel – Mandan Dink

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Being in a band is not the easiest thing in the world, especially when you’re young. It can seem stupid and foolish to pursue something with such vigor and intensity knowing well and good that you could fail at any moment. Regardless, one must accept that their innate connection to the art will keep them satisfied and must remember where it comes from. With years of practice, you can finally come out of your cave and share your work with the world–and hope that that child-like energy isn’t gone. But how can you be certain? Thus a band is born in tension, irony, anxiousness and excitement.

Today I listened to an album by New York’s Ravens & Chimes. A group of wonderful musicians who fight against the all-too-common outcome of a band losing track of what’s really important. These are people truly singing of what they know and are well aware of what they tend to project. I’m a sucker for layering, and these guys layer themselves musically as well as poetically. The results could not be a finer debut album–one full of peaks and valleys but is all tied together by a sense of proud urgency. I haven’t taken a lot of time to get into the album, Reichenbach Falls, but I will tell you, after my first listen I’ve had numerous hooks and imagery stuck in my head.

It’s a grunge at times–at others it’s a folk explosion. In an attempt to disassociate with the tendency to simply describe an artist in terms of others, I suggest you take these beautiful pop songs as they are. If you are interested in these emotion behind these tracks, you will love their album. Buy it. Now.

Today’s SotD were two chosen at random. Almost every song on this album has some truly fine quality and to decide on a definitive description would be unfortunate for the creative and talented members of this band. Please, let me know what you think. It’s been a little while since I had the time to listen to music, so I’m excited to get back to it.

MP3: Ravens and Chimes – “Far Away Sound of Cars”

MP3: Ravens and Chimes – “Saint Jude in the Village Voice”

MP3: Ravens and Chimes – “…and I Came Upon It in the Clearing”

Home | MySpace | Hype Machine | Better Looking Records

Support this band: Amazon | iTunes | InSound | Better Looking Records

Check out this beautiful intimate performance on Brightest Young Things: http://www.youtube.com/watch?v=tQACN9TMTRE Awesome.

Over the past few weeks I’ve been listening on and off to Roommate’s 2008 release, We Were Enchanted. The album is a little on the darker side, and reminds me somewhat of John Vanderslice’s albums, such as Time Travel is Lonely and Emerald City. Both artists give off a paranoid feeling at times, but Roommate is even more eerie.

Truthfully, I’m a bigger fan of their lighter toned songs like “Day After” (half way through) and “Night (Rhombus Cover).” Some of the songs that are more rigid are less appealing to me, similar to how I feel about some of Vanderslice’s work, but overall I would still recommend you check out the album.

Kent Lambert originally started Roommate as a solo-project in 2000, and after moving from Iowa City to New York, recorded an EP, Celebs. Soon after 9/11 he relocated to Chicago, and has been there ever since. In 2004, Lambert formed a live band with a variety of members–you can see the list on their Myspace. Members of the live band change based on availability, playing instruments such as musical saw, banjo, violin, theremin, Buchla Music Box, and bassoon, as well as hand percussion and traditional rock instruments.

For more on the band and recording check out Chicago Reader.

We Were Enchanted (2008):

Roommate – Night (Rhombus Cover) – This doesn’t represent rest of band’s music.
Roommate – Day After (wait through intro)

Songs The Animals Taught Us (2005; re-released 2006):

Roommate – Tuesday

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Bonus:

Emerald City (2007):

John Vanderslice – Kookaburra

Last week I posted about a tour by two fantastic folk singers by the names of Vikesh Kapoor and Nicholas Beaven. I got my hands on their EP’s and this week I will feature them both.

Nicholas Beaven’s five-song Four Track EP is surely a work of art in both content and presentation. The sleeve of the disc was pressed with a hand-carved stamp that he made and a note inside is written intimately for the the listener. The sounds don’t disappoint either.

Reminiscent just as much of Nick Drake and Elliott Smith as the classic folk poets, Beaven’s songs have that eerie bit of honesty about them. The analog warmth of the recordings give his already intriguing progressions and patterns the texture they deserve. His voice could be one of the warmest you’ve heard and the motion of the songs play along perfectly. The songs on the album vary in their power, but just for the sake of its shining moments should you give them your time. Even moreso than his skill on the guitar and his unique approach to songwriting is his ability to invite you to see his person. To bear what may be more suitable for a private journal in such an open spirit is a quality that resides few and far between in music today.

A multi-talented artist from the great city of Chicago, Nicholas Beaven’s “Lady I’ve Yet To Meet” is your song of the day. Make it speak to you.

MP3: Nicholas Beaven – “Lady I’ve Yet To Meet”

MP3: Nicholas Beaven – “Midnight Moon”

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Sub Pop, my most beloved record label, is celebrating their 20th Anniversary this year. Co-founders Bruce Pavitt and Jonathan Poneman started a radio show in 1979, which turned into a fanzine, later to become the official Sub Pop Records we’ve all come to love. It’s hard to say exactly when Sub Pop “started” because in a decade it morphed from strictly a passion to a business.

Sup Pop is partially responsible for surfacing the 90’s grunge scene in Seattle, releasing albums by Nirvana, Soundgarden, and Mudhoney. The label is now shaping the sound of indie music, signing bands such as The Postal Service, The Shins, Iron & Wine, and a slew of other amazing acts.

Jon Poneman is still running Sub Pop, although Pavitt resigned in 1996 to raise a family and experience life’s other offerings. NPR recently interviewed Poneman, at which time he gave an update on what’s going on at the label and listed his five favorite Sub Pop released songs.

If you are looking for a fascinating story, read more about Sub Pop. Not only are they the most revolutionary independent label of the last decades, but have had a truly inspiring battle to get there. They saw a lot of rough times, and weren’t always able to treat artists as well as they would have liked. Pavitt says in an interview with Pitchfork, “We opened the doors to our very, very tiny office on April 1, 1988, and by May 1, 1988– 30 days later– we thought we were going out of business.” The dark years at Sub Pop got so bad that they had to beg the phone company to give them 10 more days of service. Then in 1995, verging bankruptcy after the label spent a lot more money then they could afford, Sub Pop was forced to sell 49% of the company to Warner Bros.

Thanks Sub Pop for all that you’ve done!

Jonathan Poneman’s 5 Favorite Sub Pop Records Songs:

Iron & Wine – Lion’s Mane

Fleet Foxes – White Winter Hymnal

Pernice Brothers- Monkey Suit

Zumpano – Here’s the Plan

The Vaselines – Dying For It

Sub Pop website | NPR radio interview with Poneman | Pitchfork interview with Pavitt and Poneman

Feist is amazing.

Feist Singing Kids Version of “1234”

http://www.youtube.com/watch?v=p8Z-DIAthbM

“1234” Music Video

MP3’s:

The Reminder:

Feist – 1234

Let it Die:

Feist – Gatekeeper

Bonus:

Feist – “Nothin’ in the World Can Stop Me Worrying ‘Bout That Girl” (Kinks Cover)

The Kinks – “Nothin’ in the World Can Stop Me Worrying ‘Bout That Girl”

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